27 December 2009
This picture is from the last day of the shop so many items have gone. Unfortunately, I didn't get a shot from the ground, because the plinths were fantastic. The bases were comprised of all manner of fruit and vegetable slowly juicing themselves under the weight of the work. It forced the viewer to kneel down before the art or pick up individual pieces. That was fine for the seed bomb necklaces and Art toilet paper, but posed more of an issue for the cast-candy, fancy-pants, car keys.
The optimistic voodoo rings didn't fully eventuate, aka burn, because of a sensitive sprinkler system/fire alarms. Tisk, Tisk, I will have to be a bit more health and safety conscious next year.
25 December 2009
20 December 2009
19 December 2009
So, dear jewellery Gods, I will be expecting the help of both Superman and King Midas to get from Perth to Mexico city on April 12, 2010.
(Actually, I am easy and will settle for either.)
- your unamused jeweller
Here is what RM has to say about the event:
"Since 2003, RM has ended the year by bringing together a shop full of art multiples, miniatures, catalogues, handicrafts, food and beverages. This year they thought they would change the format slightly - focusing on perishable art: objects with a shelf-life, art multiples with use-by dates, self-destructing sculptures, a slowly disappearing inventory of stock."
And all proceeds go back to the artists.
At the same time, RM will be launching an archive of the last 12 years of activity. An exciting move for a space that has provided a consistent experimental outlet for Auckland art.
14 December 2009
09 December 2009
a special satellite show hosted by Studio 20/17 and curated by Zoe Brand, on display in THE DEPOT GALLERY, as well as the completion of the second year at Studio 20/17.
Studio 20/17 has extended opening hours in the lead up to Christmas and both galleries will be open SUNDAY 20th through to Christmas Eve on THURSDAY 24th December from 11am to 6pm.
08 December 2009
The artists' willingness to allow their work to suggest both a coming together and a falling apart is one of the most important, and distinctive, aspects of the work, resulting in an open quality that refuses to spell out or tie down its meaning. A visible awkwardness on indeterminateness may take on structural manifestations in terms of delicasy, precariousness, and the periodic use of inherently unstable materials, but the failure I am most interesting in here is the one that remains a possibility, as these artists simultaneously embrace and challenge the legacy of what sculpture can and should be. To put something out into the world whose meanings is opaque, value undetermined, and historically position ambiguous is, to put it mildly, risky (especially when the contemporary art world, and particularly the art market, increasingly demands facile interpretive meaning, an easily understood accompanying narrative, and legible and digestible formal qualities). Yet the possibility of failure here is not intended to be heroic. These are the small, daily failures that accompany an ongoing commitment to experimentation and refusal to become complacent. And the result, it turns out, are not failures at all. These artists genuinely push against the parameters of the traditions of sculpture, taking an active role in parsing through its inherited languages while proposing wholly new languages as yet undefined. Samuel Beckett described this type of commitment to process and change beautifully, ‘Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.’* Despite the fact that the works contain elements that carry associations the views can sin their interpretive teeth into, these sculptures might be best characterized as liminal – somewhere between an object and idea, between matter and consciousness – and this is a radical place to be.
* Samual Beckett. Worstward Ho in Nohow On: Company, Ill Seeen Ill Said, Worstward Ho: Three Novels (New York: Grove Press, 1996; originally published 1984), 87.
Ann Ellegood. The uncertaintiy of objects and ideas: Recent Scultpure. (Washington DC, Hirshhorn Museum and Sculpture Garden, 2006) 15.
03 December 2009
02 December 2009
22 November 2009
The projects work like this: 2D art is donated by local artists and exhibited. Then they are rolled up and passed out to random people on the street "paperboy" style. What a glorious idea!
The Papergirl - Berlin site is well worth a visit
photo care of Papergirl-berlin
I feel a bike ride coming on...
16 November 2009
I cannot wait to hear how it went.
15 November 2009
UNITEC GRAD SHOW
25 November, Opening party from 5.00pm
26 - 27 November, 10am - 6pm
28 November, 10am - 4pm
Building 1, Entry 1, Carrington Rd, Mt Albert
Opening party - 25 November, 5.30pm to late
Drinks & refreshments available from 5.30pm
Fingers Annual Group Show: November 16th - 28th 2009
Masterworks Treasure Trove :Group Jewellery Show 3 Dec 2009
Elam Grad Show 21-22 November
08 November 2009
My work focuses on jewellery that explores alternative forms of exchange between maker and wearer. This project, ‘jewellery on the brink of a relationship’, functions as homage. Each fortnight for a year, one of twenty-six unique pieces will land on the doorstep of a different artist or thinker who has provided me with inspiration.
A thank you note implies a relationship. In my circumstance the relationship up to this point has often been one sided. This project attempts to scramble the current paradigm where one person makes and the other observes. In this case, both parties function as giver and receiver and as maker and viewer. It is an experiment in interchange and initiating relationships.
I will document the progress here http://jewelleryonthebrink.blogspot.com/
Hurray its done.
30 October 2009
27 October 2009
15 to be precise.
It looks like she documents the meeting and makes a jewel in response.
14 October 2009
Foltz's text appeared in spoke in fragments, looping and sprinkled thoughts through the piece. "In this part an ascending axis". His words provided momentary snippets of thoughts and glimpses, like memories flashing by. Foltz lead the audience through the Dada-esque activities. Pending the color on which his spinning wheel landed, the audience read poetry, tore up their cards, or affixed their own writing to the walls. Another successful cross over between the performer and viewer was the final piece, The Party's Over, during which Pierre deconstructed the installation and gathered all of the streamers,and ribbons together into a heap in the middle of the room. I found this show a lovely dream scape of sounds, color and words; a melting pot that decided not to melt too much.
06 October 2009
30 September 2009
26 September 2009
quote and illustration by Bruce Mau
Rereading An Incomplete Manifesto for Growth and think it needs to be a daily routine. I am really digging #21 today, but enjoying its neighbors as well. Give yourself a present and go read the whole thing here.
20. Be careful to take risks.
Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.
21. Repeat yourself.
If you like it, do it again. If you don’t like it, do it again.
22. Make your own tools.
Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.
23. Stand on someone’s shoulders.
You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.
23 September 2009
Solar-powered cardboard planetarium - Hyde Park, Sydney, February '08
Cardboard, pinholes, sunlight, rivets, string. 90cm x 80cm x 90cm. Edition 1/6
© Kirsten Bradley 2008
The Birds Path (after Herschel) - detail of installation
Cardboard, pinholes, sunlight, rear-projection screen, blacked-out room.
© Kirsten Bradley 2008
Solar-powered cardboard planetarium - Belmore Park, Sydney, February '08
Cardboard, pinholes, sunlight, rivets, string. 230cm x 200cm 230cm. Edition 1/6
© Kirsten Bradley 2008
Kirsten Bradley's work About, above, stands up where I feel that many participatory projects fall short.
- Emotionally engaging as a viewer or particpant, check.
- Aesthetic compelling as a stand alone object, check.
- Theoretical backbone, check.
Here is what she has to say about the work:
A project in two parts, About, above invites the viewer into a world of lo-fi nature through participatory sculpture and installation. The first aspect of the project are solar-powered cardboard planetaria, which are designed to be installed in parks and other public spaces within a city. The second aspect of the project is an installation in the form of a room or chamber containing a camera obscura starmap, which is 'powered' by exterior sunlight, and allows the viewer to experience both a glowing starchart and a mosaic version of the world outside the chamber, simultaneously.
Read more about her project here Kirsten Bradley
21 September 2009
20 September 2009
What better message to send, than "eat more cake!"
Raewyn Walsh, the challenge is ours if you accept it.
17 September 2009
01 September 2009
opening 6pm September 8,
Inform Gallery, CHC
And on the same day its got legs begins, the RMIT Gold and Silversmithing Annual Postgraduate and Alumni Award Exhibition 2009. The opening is on the 9th, and one Ms Jacqui Chan is in that show.
via Melbourne Jewller
How great would it be to fly around to all of these openings? I need that job.
31 August 2009
Typically, at one end of the creative process there is a disconnected pile of widgets while at the other end there is a shimmering artifact basking in the muted glow of halogen lights. But what we are interested in is the steps in between. The Maquettes project suspends the end to end process so that the rough sketches and models become the de facto finished product.
Here’s another way of looking at things: One sketch says hello to another sketch and just like that a rough draft is born. It’s in this place where we’ve decided to pause for a moment. We don’t stop here because we have some innate desire to illustrate the various steps in the art-making process; rather we want to ascribe a value to inspiration and spontaneity. That is to say, freshness and energy rather than polish and luster. Isotopes and polymers rather than mass-produced objects. Spindle and bobbin rather than glass display cases. Windowsills rather than free trade economic zones.
We’ve decided to linger in between these spaces, in the hopes of capturing the moment before the moment that art “happens”. Won’t you step in and join us?
- Craig Foltz
30 August 2009
Tonic describe themselves as "emerging contemporary jewellery and object artists whose diverse practices are continually pushing boundaries." All students from MSVA, they are Cath Dearsley, Nadene Carr, Paula Thornburrow, and Sarah Walker-Holt.
Tonic's inaugural exhibition is running at the Small Dog Gallery in the Depot Artspace from August 22nd – September 3rd. This is a lovely show in a great space. Now that the group has this accomplishment under their belts I hope that they go onto push more of those boundaries.
29 August 2009
25 August 2009
See his work here.
I had the privilege to see the Emory Douglas talk last night. If you haven't seen the exhibition at Gus Fisher it is a must see.
21 August 2009 to 3 October 2009